Aesthetic Studies - Page 2

Sentiment Analysis for a Humanist Framework: How Emotions are Recognized and Interpreted in the Age of Social Media

///
494 views

Rafael Guzman Cabrera
Department of Electrical Engineering, University of Guanajuato, Mexico. Email: guzmanc81@gmail.com

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.01

First published: June 18, 2022 | Area: Aesthetic Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
Full-Text HTML Full-Text PDF Cite
Sentiment Analysis for a Humanist Framework: How Emotions are Recognized and Interpreted in the Age of Social Media

Abstract

Language is in constant evolution – this theory has been demonstrated most aptly and comprehensively by Marshall McLuhan. Specialisation in the different areas of knowledge, especially technology, has contributed to this process. Technological advances and the development of so-called intelligent devices allow interaction through voice interfaces, text, or gesture and in its most advanced forms by means of the incorporation of artificial intelligence-generated linguistic communications in human-machine interfaces. In recent years, the ways of communication or watching news have changed, now we do it by means of the internet and through different options of the social networks. We interact with people and react to their communications by means of divergent ways of language formation. It is increasingly common to express opinions through social networks and the internet. So much so that now we know that it is possible to analyse a person’s sentiment from his or her communications of opinion issued in social networks? The question is, can we determine, for example, whether the opinion has a positive or negative emotive charge only by analysing the written or inscribed texts of such formats of communication? This paper presents a brief description of how technological evolution has created an x-factor of language, that is expressed, appropriated and re-used in machine learning modules, artificial intelligence, and automatic sentiment analysis.

Keywords: Artificial intelligence, Language evolution, Sentiment analysis.

  1. Introduction

The evolution of the human language is one of the most important and interesting post-humanist questions about the human ability to think and interact with the world and the environment (Nowak, Komarova, & Niyogi, 2002). The earliest records of language come from the Denisova cave inhabitants of southern Siberia, some 175,000 years ago (Barnard, 2016). We don’t know if they spoke or developed a language or protolanguage. A protolanguage is a language reconstructed on coincidences and common features of a family of original languages. There are several theories about the first stages of protolanguage (Tecumseh and Donald 2010). Generally, four models are recognized for a protolanguage template: lexical, musical, mimetic and gestural. Again, every language, whether spoken or written, evolves to have grammar as a defining feature. Grammar is essentially syntax: the part of language that lies between the sound system that makes up speech (phonology) and the part that carries meaning and is called semantics. Heine and Kuteva (2007) propose a six-stage scheme for the evolution of grammar: nouns, verbs, adjectives and adverbs, pronouns, and demonstratives and finally negations. Their model further suggests that language evolved gradually, and that the lexicon evolved before syntax.  Since the early 1990s, there has been an increasingly productive study of language, with advancements in many different sectors, and an encouraging increase in exchange and interdisciplinary collaboration (Fitch 2005). Currently we normally see the way we interact with other people, in our communications includes not only the older methods of communication that were available to humanity for thousands of years but also forms or signals derived from communications technologies, some of which include communications across formats like social networks or e-mail correspondences. But what kind of technologies did we leave behind to get here? When did we stop using other ways to communicate? Where did postal mail go, and telegrams and faxes that even relatively recently were used on a daily basis?

We have witnessed a technological revolution that has put our reach of technological resources far in advance so that we have changed our way of interacting with others in so many ways. As a consequence of this change there has also been a change in the nature or structure of language (especially inscription); now we can use emoticons or abbreviations that literally say nothing, but we still use them to express ourselves. The paper mode of communications has changed from paper material surfaces or inscribable surfaces to digitally simulated platforms or screens. Surprisingly, we went from talking on mobile phones to writing text messages through social networks in platforms that we now call social media. Yet it also suggests a new medium of communication such as some of those that McLuhan had barely begun to identify (McLuhan 2003). When we actually talk and interact with a person, either in person or by means of using some technological resource, we also perceive their mood or their “sentiment” either by looking at their gestures, expressions, modulation, and tone of voice, or a whole range of other characteristics that we use to express ourselves. The big question is: is it possible to perceive such feelings from a written text-format alone, like a text that incorporates not just words, but extra morphological semantics like those engendered through emoticons, GIFs, memes, visual codes, digits etc, or new sets of phraseology? The rest of this paper tackles the question of the languages in the latest media, specifically social networks, which constrain us to meet and interact with people by looking at the textual equivalent of their emotions and not at their physical bodies. What are the written expressions and resources that help us to identify the feeling of a person through a written expression? This question also leads us to directly understand how a systematic classification and understanding of emotional cues might be undertaken so that machine learning modules can predict these emotions?

  1. Artificial Intelligence

The evolution of technology had a decisive impact on the way we live today, particularly the development of computer hardware. Just 70 years ago, researchers wondered if a machine could ever think for itself. Over time the question was changed to whether it could come to think by being manipulated by physical symbols sensitive to the structure that they had. In those times they managed to understand the great power of systems that were governed by established rules, but what if the systems were automated? Automation could turn a reading process from being an abstract computational system into a real physical system (Fernández-López, 2011). To determine if a machine uses artificial intelligence or to put it in simple words if a machine is intelligent, Alan M. Turing’s proof was taken as a reference (Millican, 2021), which indicates that any recursively computable function can be calculated in a finite time by means of a machine that manipulates simple symbols. This was Turing’s universal machine. A Turing machine is a device that negotiates with symbols on a strip of tape according to a table of intervening rules. Despite its simplicity, a Turing machine can be adapted to simulate the logic of any computer algorithm and is particularly useful in procuring the functions of a central processing unit within a computer. This implies that a symbol manipulating machine should be able to have intelligent consciousness, where positive results could be obtained since these machines could perform a series of cognitively intelligible activities, as for example the solution of algebraic problems, or of arithmetic, or engagement in meaning interpretative human dialogue or games like checkers and chess. Thanks to the emergence of larger hardware memories, we could evolve more efficient and faster machines that could go ahead and engage with human language systems.

For its part Hubert L. Dreyfus, one of the main characters who argued against the fact that a machine could have its own consciousness, published a book in the 1970s where he criticised the modules of machine cognition (or interpretation) and mentioned that the consciousness was reserved to the capabilities and common sense that people possess, Dreyfus didn’t deny that a machine could be made to think, but said that this could be based only on the manipulation of symbols, that is, by means of programs (Su & Luvaanjalba, 2021). In the 80s Jon Searle proposed a thought experiment called ‘the Chinese room’ which posits that a machine is incapable of thinking, since the human mind doesn’t function like a computer program, nor can a computer program behave like a human mind (Tabares Cardona, 2021). The Chinese room consists of a room, isolated from the outside, in which there is a person who doesn’t know the Chinese language but who, through a hole, can receive sheets of paper with texts written in this language, and if inside the room the person has manuals and dictionaries with which he is able to relate the characters to write a response, without having to study the language but applying rules then, for each set of input characters, the person would be capable of issuing an answer without understanding the language. In the same way, a machine will work with inputs and obtain outputs, even if it doesn’t ‘understand’ them. Therefore, a machine that applies rules is incapable of having consciousness, but we humans can also be, retroactively arguing, a Chinese room full of rules.

The main objective of the Chinese room is to deny that the mind is similar to a computer program, demonstrating that a machine can perform an action without understanding what it does and why it does so, since its logic only operates with symbols without understanding the content involved. Such a machine could easily pass the Turing test by pretending that the machine understands the language. Artificial intelligence consists of a simulation of some activities of the nervous system by means of machines: this refers to the fact that some of the processes that are performed in the brain can be analysed as computational processes. An example would be that rule-guided machines wouldn’t have the distractions of goals to be achieved- as it happens to human beings who are always faced with emotional distractions and destinies of their interactions. These destinies may be simple happinesses from a stream of pain or simple tirednesses. The interface between the brain and the computer allows measuring brain activities, processing and creating communication channels with the environment. We can define a system capable of translating aspects of the nervous system into a model of interactions with the virtual world.

  1. Machine Learning

Learning refers to a broad spectrum of situations in which the learner increases his knowledge or skills to accomplish a task. Learning applies inferences to certain information and constructs an appropriate representation of some relevant aspect of reality or some process (Moreno, 1994). A common metaphor around machine learning – within Artificial Intelligence – is to consider problem solving as a type of learning that consists – once a type of problem has been solved – in being able to recognize the problematic situation and react using the learned strategy (Klahr & Kotovsky, 2013). A classic example is the problem of the farmer, who, accompanied by a fox, a goose and a sack of grain must cross a river on a barge in which there is only the and one more, but if he leaves the goose with the fox, the fox will eat it and if he leaves the grain with the goose, the goose will eat it. Here the problem must be recognized, and decisions made that allow everyone to reach the other side of the river. In this sense, we have different classifications or types of learning, we will briefly describe the most used in the state of the art: supervised, unsupervised, and deep learning.

Supervised learning (Nguyen Cong, Rivero Pérez, & Morell, 2015) has the purpose of obtaining a distance metric function, usually represented mathematically as the Mahalanobis distance between two instances and their corresponding classes for a specific application, and based on using information from the training set. Most algorithms that learn a distance function try to solve an optimization problem with constraints. On the other hand, unsupervised learning (Tello & Informáticos, 2007) obtains a model that fits the observations, because there is no a priori knowledge. A usual problem of this type of learning falls on decision-making itself, and whether they are correct or not, for this, grouping techniques with logic are used. Data collected is like other data, and thus can be treated collectively as a group. Clustering is a form of unsupervised classification where, in contrast to the supervised group, the class labels are not known (there are no previously defined classes) and the number of groups may not be known either. Fuzzy clustering is a method frequently used in pattern recognition (Fan, Zhen, & Xie, 2003). In recent years, deep learning has been widely used. It consists of a set of algorithms that attempt to model high-level abstractions using computational architectures. Such structures may support nonlinear and iterative transformations of data expressed in matrix or tensor form. In simple terms, deep learning implies the mastery, transformation, and use of this knowledge to solve real problems (Valenzuela Granados, 2021). Independently of the type of learning, the objective is the same: to have a system that is capable of learning from experience and one that can include the conditions of the environment to successfully perform its task. When we talk about the identification of sentiments in written texts it is important, in this sense, to have instances manually labelled by an expert, that allow machine learning techniques to identify trends, associations, patterns, and collocations in the text that allow associating these features with the type of sentiment labelled in the instance under study.

  1. Social Networks

Currently, microblogging websites have become digital spaces of varied information, where users post information in real-time and opinions are expressed by means of texts that implicitly carry an emotional charge. Statements thus become a positive or negative opinion about people, products, or services. Several companies, organisations and institutions have made use of this type of media to obtain feedback, promote themselves, or to turn the opinion of users into an improvement network (Rani, Gill, & Gulia, 2021). Being able to know the opinions of the users of a product or service will guide the decision-making to achieve an improved sales profile of a company, by identifying areas of opportunity and improvement within it. Twitter in recent years has recorded a growth in the so-called “social panoramas”, used in a transmission system, as well as conversation tools. Twitter is the social network that is currently used for the development of numerous investigations of sentiment analysis (also known as opinion mining), where sentiment analysis is defined as the process of determining opinions based on attitudes, valuations, and emotions about specific topics. In this context, an opinion is a positive or negative evaluation of a product, service, organisation, person, or any other type of entity about which some feeling can be expressed (Cambria, Xing, Thelwall, & Welsch). Due to the importance of sentiment analysis for business and society, it has been extended from computer science to management and social sciences (Coba, Barrera, & Sánchez, 2022). Since, if opinions on the network are successfully collected and analysed, they allow not only to understand and explain many complex social phenomena, but also to predict them. The emotions that users express in Tweets are related to the person’s sentiment, and the polarity (positive, negative, and neutral) is the measure of the emotions expressed in a phrase.  Generally, the polarity goes from negative (-1) to positive (1) through neutral (0), where this last value means that no sentiment or opinion has been expressed.

  1. Sentiment Analysis

Khamphakdee & Seresangtakul (2021) describe sentiment analysis as a task that is responsible for identifying and classifying different points of views and opinions about something without being specific: it can be an object, a person, an activity, etc.  Analysis is based on Natural Language Processing (NLP). The main objective is the analysis of opinions and their classification based on the identified sentiment: positive or negative. There is also the possibility that they don’t exist and would be classified as neutral. The possible applications can be as useful as they would be different. In recent years such analysis has been a very attractive and interesting field of research, creating a classification set that can be performed in the polarity of sentiment as mentioned above added to this can be added a classification of primary sentiments such as joy, sadness, anger, fear, and others. Antonakaki and colleagues (2021) present some techniques used for the review of sentiment analysis, such as those which will help us to automatically determine the emotional polarity in a text with Artificial Intelligence, i.e., develop programs or learning algorithms and knowledge generation capable of learning to solve problems.

The authors in Jiménez-Zafra, Cruz-Díaz, Taboada, & Martín-Valdivia (2021) tell us about the ways of adapting a semantic orientation system to be able to perform the analysis of sentiment in a new language, building support vector machine (SVM) classifiers. We must bear in mind that a classification system, used to find ‘feelings’ in written expressions, based on machine learning, can be trained in any language. Another technique used for sentiment analysis review is Semantic Orientation, which oversees extracting opinions (Appel, Chiclana, Carter, & Fujita, 2021). Appel and colleagues explain that the semantic orientation of a word can become positive when it is shown with praise words, or negative when a criticism-word is identified. Semantics uses a learning technique that doesn’t necessarily need to be supervised since it doesn’t require initial training. This type of unsupervised learning uses different lexical rules in sentiment classification.

There are also 3 levels of classification for sentiment analysis:

  • Document-based
  • Sentence-based
  • Word/phrase-based.

The first level is document-based, where the document is understood in a unique way and the whole document is thus classified according to a feeling for the whole document. The sentence-based level is responsible for classifying each sentence in a document or text: machine learning is generally used to detect subjective sentences. Finally, the word/phrase level is essential since the word is the smallest unit containing meaning in the entire text and is therefore indicative of the most detailed of the levels. In the Sentiment Analysis method, a machine learning approach based on a training and testing, using one set of collections to differentiate between text features (training) and another for classifier accuracy (testing) may be used. Our research has repeatedly used such techniques. Some of the classifiers we have used were Support Vector Machine (SVM), Nayve Bayes (NB) and Maximum Entropy (ME). Nayve Bayes is a classifier commonly used to classify text documents based on a probability model, for estimating the probability of a given group with a text document as input. The Support Vector Machine (SVM) classifier is also proposed for solving problems in pattern recognition. It is a learning model with algorithms that is responsible for data analysis. The two classifiers were top-rated in the machine learning approach to data mining and sentiment classification.

Sentiment analysis starts with the collection of data on a website or social network, mostly by taking advantage of the data that already exists publicly. The data can be classified according to the input of information from such sources as forums, blogs, articles, news, or social networks. For forums, the research is based on publications, and for this data collection is based on the access information of the users since they must be registered to be able to participate in them. A main advantage here is that most of the forums are dedicated to a single topic. Reviews focus a lot on opinions that describe good and bad attributes whether in products or services, such as movies. In social sentiment analysis classification depends a lot on the use of keywords in the texts. To finish with this part of the methodologies implemented to carry out sentiment analysis in texts, I want to refer to two projects in which I had the opportunity to participate. In Sánchez, Cabrera, Carrillo, & Castro (in preprint 2022) we conducted analysis of sentiments, with a methodology that allowed us to identify the polarity of a text in Spanish according to the emotion of its authors: this polarity could be identified with 3 labels: positive, negative, and neutral, and the emotions that could be identified being of 5 kinds: anger, fear, joy, sadness and love.

As the first point of the methodology, use is made of the corpus labeled SemEval 2018 “Task1: Affect in tweets”, first a cleaning process of the tweets is performed, eliminating: emoticons, punctuation signs and special signs to subsequently separate the tweets into words, and using POS (part of speech), we place a label and word lemma (base form of the word). With this information a text classification model is created. This model receives (matches with input signal) an instance and categorizes it as: anger, fear, joy, sadness, or love, corresponding to the emotion that was identified for each instance. This is possible because the training corpus is labelled according to the emotion and can be used to train the system; once the system is trained it can receive new instances and identify the emotion. Once the emotion has been identified, polarity identification is performed, whose objective is to obtain a positive, negative, or neutral classification. This stage is performed through the extraction of the POS tags, here a search is performed for each lemma within the ML-Senticon lexicon, to obtain its respective positive or negative classification. Another research (Guzmán Cabrera & Hernández Farias, 2020) presents an exploration of diverse lexical resources that support the task of sentiment analysis. For the development of the methodology as a first point a series of experiments based only on the content of the tweets was presented in our projects. For this we used five configurations, in each one the pre-processing to be performed was increased, the first of them was without performing any type of pre-processing, the second consisted of tokenizing the text, eliminating empty words, conversion to lowercase and to terms that exceed a frequency threshold. Two approaches to lexical resources were used, the first one was a basic approach based on the creation of lists of terms associated with two polarities: positive and negative. And the other approach labelled a word with a score that reflects its value with respect to a particular aspect. The authors in our group selected a set of fourteen lexical resources divided into two main groups, those that include information strongly related to sentiment and emotions and those in which psycholinguistic information was also considered. It is undoubtedly a very exciting area of explorations and there is much more to write about. The important thing is to show that both the identification of sentiment and polarity can be performed in written texts and that these resources become necessary given the popularity of social networks and the daily posting of opinions on them. Surely language will continue to evolve, and, in a few years, everyone would be discussing some other strategies for performing sentiment identification.

Conclusion

Computational sentiment analysis betokens a process that helps us determine the emotion with which a series of words is defined, and it consists of evaluating attitudes and opinions from word-tokens to obtain information that helps in identifying the reaction of users for a product or service, or by extension any piece of communication. In general, the idea of sentiment analysis was partly elaborated for the development of better products and services, based on the opinions that were found in the different areas of communications. Yet a lot remains to be discovered. But the final take for any interpretative process is to understand how any thinking entity, b it a machine or human arrives at the meaning of texts, what kind of flow chart is really relevant and expedient and how such insights change our notion of interpretation in the academic theoretical literature. What do machines teach us about reading?

References

Antonakaki, D., Fragopoulou, P., & Ioannidis, S. (2021). A survey of Twitter research: Data model, graph structure, sentiment analysis and attacks. Expert Systems with Applications, 164, 114006.

Appel, O., Chiclana, F., Carter, J., & Fujita, H. (2021). A Fuzzy Approach to Sentiment Analysis at the Sentence Level Fuzzy Logic (pp. 11-34): Springer.

Bellet, A., Habrard, A., & Sebban, M. (2013). A survey on metric learning for feature vectors and structured data. arXiv preprint arXiv:1306.6709.

Cambria, E., Xing, F., Thelwall, M., & Welsch, R. Sentiment Analysis as a Multidisciplinary Research Area.

Carpenter, E., & McLuhan, M. (1956). The new languages. Chicago Review, 10(1), 46-52.

Coba, J. A. A., Barrera, L. F. A., & Sánchez, K. P. M. (2022). Perspectivas del Big data. AlfaPublicaciones, 4(1.1), 514-531.

Fan, J.-L., Zhen, W.-Z., & Xie, W.-X. (2003). Suppressed fuzzy c-means clustering algorithm. Pattern Recognition Letters, 24(9-10), 1607-1612.

Fasce, E. (2007). Aprendizaje profundo y superficial. Rev Educ Cienc Salud, 4(1), 2.

Fernández-López, M. (2011). ¿Pueden pensar las máquinas?/Mariano Fernández López.

Fitch, W. (2005). The evolution of language: a comparative review. Biology and philosophy, 20(2), 193-203.

Heine, B., & Kuteva, T. (2007). The genesis of grammar: A reconstruction (Vol. 9): Oxford University Press.

Jiménez-Zafra, S. M., Cruz-Díaz, N. P., Taboada, M., & Martín-Valdivia, M. T. (2021). Negation detection for sentiment analysis: A case study in spanish. Natural Language Engineering, 27(2), 225-248.

Khamphakdee, N., & Seresangtakul, P. (2021). Sentiment Analysis for Thai Language in Hotel Domain Using Machine Learning Algorithms. Acta Informatica Pragensia, 10(2), 155-171.

Klahr, D., & Kotovsky, K. (2013). Complex information processing: The impact of Herbert A. Simon: Psychology Press.

Kumar, P., & Sarin, G. (2022). WELMSD–word embedding and language model based sarcasm detection. Online Information Review.

Logan, R., & Heyer, P. (2001). The sixth language: Learning a living in the internet age. Canadian Journal of Communication, 26(4), 566.

Marshall McLuhan. Understanding Media: The Extensions of Man; 1st Ed. McGraw Hill, NY; reissued by Gingko Press, 2003 ISBN 1-58423-073-8.

Millican, P. (2021). Alan Turing and Human-Like Intelligence. Human-Like Machine Intelligence, 24.

Moreno, A. (1994). Aprendizaje automático: Edicions UPC.

Nguyen Cong, B., Rivero Pérez, J. L., & Morell, C. (2015). Aprendizaje supervisado de funciones de distancia: estado del arte. Revista Cubana de Ciencias Informáticas, 9(2), 14-28.

Nowak, M. A., Komarova, N. L., & Niyogi, P. (2002). Computational and evolutionary aspects of language. Nature, 417(6889), 611-617.

Rani, S., Gill, N. S., & Gulia, P. (2021). Survey of Tools and Techniques for Sentiment Analysis of Social Networking Data. International journal of Advanced computer Science and applications, 12, 222.

Sánchez, B. P., Cabrera, R. G., Carrillo, M. V., & Castro, W. M. Identifying the polarity of a text given the emotion of its author. Journal of Intelligent & Fuzzy Systems, (Preprint), 1-9.

Su, B.-c., & Luvaanjalba, B. (2021). The Effect of Hubert Dreyfus’s Epistemological Assumption on the Philosophy of Artificial Intelligence. Paper presented at the International Conference on Human-Computer Interaction.

Tabares Cardona, M. A. (2021). Aproximaciones al argumento de la habitación china de John Searle. Manizales. 

Tecumseh Fitch, W, Arbib, M.A., & Donald M. (2010). A molecular genetic framework for testing hypotheses about language evolution The evolution of language (pp. 137-144): World Scientific.

Tello, J. C., & Informáticos, S. (2007). Reconocimiento de patrones y el aprendizaje no supervisado. Universidad de Alcalá, Madrid.

Valenzuela Granados, W. L. (2021). La inteligencia emocional y su influencia en el proceso de aprendizaje. Universidad de Guayaquil: Facultad De Filosofía, Letras Y Ciencias.

Modern Dance as an American Alternative to Classical Ballet

/
285 views

Tatiana Portnova

Department of Art History, Russian State University named after A.N. Kosygin, Moscow, Russian Federation. Email: prof.portnova@nuos.pro

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.71

Abstract

The choreographic art of the United States developed in a new direction and was looking for new forms corresponding to the trends of the modern era in many ways. By the beginning of the 20th century, the classical ballet of the USA rooted in Russian choreographic culture had experienced the lack of the means of expression that could reflect a new range of themes, images, philosophical and artistic concepts that had developed by that time and required a new dance style, genres, aesthetics. Modern dance emerged along with the development of the national political and artistic and creative self-consciousness of Americans in general, during the development of national musical, choreographic, and poetic traditions by cultural figures, who searched for their path in art. The study analyses the features of American modern dance. The artistic and aesthetic principles of modern dance are identified and the historical and cultural prerequisites for the development of the national choreographic school of the United States are revealed. The study uses theoretical methods such as visual and textual analysis of choreographic performances and music for performances, comparison of means of plastic expression, movements and figures of classical ballet and modern dance, principles of stage development of artistic images of performances. The empirical study is based on the generalisation of the practical experience of staging performances by leading American dancers of the 20th century. As a result, it is noted that the features of modern dance are completely different to those of the United States classical ballet, testifying to the desire of Americans to reflect the problems of modernity and convey the unique national character of the United States culture by using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet but reflect the spirit of modernity. The materials of the study are of theoretical and practical value for specialists who work with the problems of culture and art of the 20th century, including modern choreography.

Keywords: US art, avant-garde, choreography, performance, culture.

An Introduction to Indian Aesthetics: History, Theory, and Theoreticians by Mini Chandran and Sreenath V. S.

//
365 views

Bloomsbury India. 2021. pp. 2308, £76.50 / ISBN: 9789389165135

Prabha Shankar Dwivedi

Department of Humanities and Social Sciences, IIT Tirupati. Email: prabhas.dwivedi@iittp.ac.in

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.21

This book can be seen as a response to a severe demand in the field of Indian poetics for an introductory book that provides an overview of all the seminal schools of Indian poetical thoughts, keeping in view both the theories and the theoreticians. This book, in the words of authors, is meant to be “An introduction to the world of Sanskrit poetics, explaining its major concepts lucidly for even those who do not know Sanskrit. It offers a comprehensive historical and conceptual overview of all the major schools in Sanskrit poetics…. It is meant to be a beginners’ guide to the awe-inspiring immensity of Sanskrit literature and literary thought, the first step in a journey that should ideally lead to the profundities of ancient thought.” (Chandran et al 2021, p. xii). The discussion in the book progresses with varied theoretical perspectives on Indian aesthetics in a well laid historico-conceptual order. Though the book briefly talks about Tamil poetics putting it parallel to Sanskrit poetics by comparing Tolk?ppiyam with N??ya??stra in the preface, it primarily serves to be an introductory handbook of Sanskrit poetics for the non-Sanskrit University students at various levels. This book succeeds in providing clearer idea of Indian poetical thoughts to its readers. Full-Text PDF>>

The Nature and Concept of Meta-artistic Objects

209 views

Benjamín Valdivia

Professor, Art, Architecture and Design, University of Guanjuato. E-mail: valdivia@ugto.mx

 Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.03

Abstract

This paper introduces two concepts useful for the understanding of current trends in art. One of them is the concept of meta-art, which is proposed here because of the perception that contemporary art goes beyond the traditional borders of art, transforming the aesthetic question (is it beauty?) to a more ontological question (what is it?). Diverse elements are identified at the borders of artistic expression, as the question starts to implicate the changes caused by the notion of the meta-artistic. The second concept deals with the other main category of judgement of art, which was formerly defined by beauty, and yet now gets displaced in the limits of the meta-artistic by another process that we call aesthetic impact. This given pair of theoretical instruments help in a better understanding the astonishing objects developed by the artists of our time.

Keywords: aesthetic impact, beauty, contemporary art, fragmentation, Meta-artistic, end of art.

Literature in New Media: A Comparative Study of Literary Affordances of Lance Olsen’s “10:01” in Traditional and Digital Medium

//
256 views

R.Ramya1 and Dr.Rukmini.S2

1PhD Scholar, Department of English, School of Social Sciences and Languages, VIT, Vellore. ORCID id: 0000-0002-7298-5959. Email: ramyarajakannan7@gmail.com

2Senior Assistant Professor, Department of English, School of Social Sciences and Languages, VIT, Vellore. ORCID id: 0000-0001-8414-3145. Email: rukminikrishna123@gmail.com

 Volume 13, Number 2, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n2.45

Abstract

The recent advances of the digital era invoke an array of new media for communication. This impressive feat of technology purveys a wide range of new affordances to communication unviable in print. The new media affordances of the electronic and the digital have impacted the creative literary compositions, providing innovations in contemporary literature. Postmodern literature being the initiation of experimental works has strived to reinvent the affordances of literary fiction. It has now advanced into resorting to digital technological affordances to maximize narrative inventiveness. Lance Olsen’s “10:01”, a postmodern novel adapted as hypertext fiction, is an exemplar of such feat. This research examines the literary affordances of the chosen text in print and its hypertext adaptation within the framework of affordance theories.  The study unveils the inlaid new media aesthetics and viabilities of the digital in relation to the traditional medium of print by focusing on affordances. The paper asserts the significance of theorizing the aesthetics involved in digital textuality by holding print and electronic literature at the intersection. This study aims to establish the shift in literary analysis paradigms of text due to the emergence of New media.

Keywords: Electronic literature, New media, Literary Affordances, Print vs Digital, Hypertext fiction, Postmodern Literature, New media Aesthetics.

Hasya: Towards a Poetics of the Comic

/
186 views

Jagannath Basu

Assistant Professor of English, Sitalkuchi College, India.  Orcid: 0000-0003-0306-7238. Email: dyukrish@gmail.com

 Volume 13, Number 2, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n2.37

 

Abstract:

Amidst a whole range of criticism and derision that laughter has received down the ages, the question still lingers: why “One daren’t even laugh any more”? The comic, according to Aristotle, is associated with the ridiculous or the ugly. It constitutes a deformity or an error and leans towards something which is mean. The comedy, on the other hand, is a form of low art consisting of what is base or inferior. This view of the comic and comedy has largely been accepted and forwarded by the West. They have looked down upon the comic with a one-dimensional view of derision and condemnation. As Lisa Trahair correctly states, “to comprehend the comic is to risk overlooking the structure of incomprehensibility that is crucial to its operation”. Although often considered as a synonym for humour or laughter, hâsya, on the other hand, is much more than that. Hâsya always enabled us to understand comic’s implications in the object world and vice versa. It is not only enigmatic but also esoteric in nature. Through a select study of VidûSaka (the deformed clown in Sanskrit theatre) and two poems— one a Sanskrit Muktaka and the other a Nind?-stuti, this paper intends to read the potentialities of hâsya as an-other laughter, not just as a mode of gay affirmation or subversion but as a mode of “free play” (ju), within the space that exists between the self and the other(s). This, however, by no means is an attempt to conceive hâsya only as a disruptive event with the intentions of the ‘Empire writing back’, rather a wish to hermeneutically comprehend the harmony of the comic within the dimensions of Indian aesthetics, so that the poetics of laughter can be retrieved and reclaimed.

Keywords: Hâsya, laughter, being, other, comic, poetics, ju

Critiquing 21st Century Creative Violence: Tagore’s Concord (Milan) and Harmony (Samanjaysya) Imagining “One World”

/
192 views

Ayanita Banerjee (Ph.D)

University of Engineering and Management.New-Town, Kolkata. West Bengal. Email: abayanita8@gmail.com

 Volume 13, Number 2, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n2.30

 Abstract:

Modern science, acclaiming the success of the creative human brain as ‘progressive changes’ in the 21st century continues to prosper through prominent images of scientism, ingestion, cartelized capitalism, chemistry and rocket technology to name a few. Introspecting the 21st century from the given nexus, we are quite likely to conclude that it has remained a century when the human destructiveness has reached its creative pinnacle. ‘Creative progression’ disguised under the garb of SARS COVID-19 is currently ransacking mankind, resulting in mass genocide, destruction of cultures and worldviews. The creative human self now remains predisposed with the activation of low-grade mental illness. depression, anxiety and trauma. Tagore’s ‘creative self’ with a magisterial rebuke had always protested the prevalent dominant theories of violence and counter- violence down the time line. His philosophical vision intertwined with the humane self of ‘being’ instead of ‘becoming’ counterpoises this ‘creative enigma’ of scientific and material human progression even to this day. Standing on the threshold of the 21st century we earnestly look forward to reminiscence Tagore’s vision of Concord (milan) nurturing the “living bonds in a society” and brewing Harmony (samanjaysya) as the “wholeness and wholesomeness of human ideals” to provide a remedy for re-thinking the possibilities of “One World” (my italics) defined in terms of ‘becoming’ instead of ‘humane -being’.

 Keywords: Tagore, creative violence, mechanization, concord, harmony, one world

Pink Floyd’s Time: an aural metanarrative exploring time through form, lyric, and musical arrangement

/
459 views

Shobana P Mathews1 & Vishal Varier2

1Associate Professor, Christ University.  ORCID: 0000-0001-9700-9420. Email: shobhana.p.mathews@christuniversity.in,

2III MA-English.  ORCID: 0000-0001-9966-4402.Email: vishal.varier@eng.christuniversity.in,

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s10n3

 Abstract

The inability of language to capture the essence of time is a crisis that has been expressed by philosophers starting from St. Augustine to Paul Ricoeur. Appearing on their seminal album, Dark Side of the Moon, Pink Floyd’s Time is a profound artistic attempt which transcends this language barrier by using music to bring the listeners to a more direct confrontation with time; doing so by juxtaposing time as calibrated and as experienced through the music and the lyrics, and by making the reader experience time-based affects such as impatience, expectation, monotony, and such. As a direct function of song, time is experienced as musical time in the song, thereby ensuring that the listener’s confrontation with time is immersive, with lyrics that describe the nature of experienced and calibrated time working synchronously with the music to complete the image. In the context of its release in 1974, the 6:52 minute song was in engagement with the concept of time as well, in that it was among the pioneering ones which redefined radio broadcast time beyond the standard 3 minutes afforded to popular music tracks, with the commercially preferred listener span in mind. The matter of time thus becomes a multi-layered formal engagement in the song, at the level of lyric, recording, music and listening, thereby making possible an image of time that is polished and rounded. These aural, lyrical and production-based concepts will be addressed and expanded upon to show how Pink Floyd’s Time functions as a metanarrative in how it uses and invokes the elements of time to talk about time.

Keywords: Aurality, aural narrative, metanarrative, language, aspects of Time

Nature and Self Reflection in Tagore’s The Crescent Moon

/
249 views

Ayanita Banerjee

Professor of English, University of Engineering and Management, New-Town- Kolkata. Email: abayanita8@gmail.com

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s10n1

Abstract

To perceive the human world in co-existence with nature and thereby to nurture freedom and constructive processes we need to rethink the transformative literature of Rabindranath Tagore, who explored an environment conscious, almost ecocritical vision of human existence inspiring a “deep ecological” sense of identification with the immediate environment. Tagore’s philosophy of nature with its wide range and variety reifies the real possibility of ‘living, learning and uniting oneself’ with the “organic wholeness of nature”. The relationship between the man and nature remains interwoven in his writings promoting an intimate, interdependent relationship revealing “the deepest harmony that existed between man and his surroundings”. The paper dealing with Tagore’s simplest collection of poetry The Crescent Moon in particular lays emphasis on the relationship of the mother and the child developing out of his traumatic experiences of childhood namely losing his mother quite at an early age and his subsequent identification with nature as an ‘alternative mother-principle’ Nature confers a psychological closure by connecting him with Mother Nature (my italics) “mother nature you have taken me in your affectionate embrace and have begun to sing your imposing music to me rich in harmony and melody”. Nature removed from the crudity of its daily entanglements activated within him a spirit of companionship and receptivity revealing to him “the deepest harmony that existed between him and his surroundings”.

Keywords– Mother- nature, symbiotic-coexistence, alternative-mother principle.

Of Fairy Tales: The Reparative Fantasy in Christina Rossetti’s “Goblin Market”

/
366 views

Cassie Jun Lin

University of Macau, mb84026@um.edu.mo, ORCID ID: 0000-0001-7749-1491

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s3n3 

 

Abstract

With the heated debate on the utility of the humanities as a context, this paper reads Rossetti’s “Goblin Market” as an attempt to reconcile the emerging functional attitude towards the humanities and the susceptibility of the humanities to the neo-liberal condition. This paper traces connections between the “reparative” or the “post-critical” turn and fairy tales or fantasies in order to argue that Christina Rossetti’s much debated poem, “Goblin Market,” could be framed in a fantastic framework that substantiates a reparative orientation that is “additive and accretive” (Sedgwick, Touching Feeling 149). A stubborn insistence on the hermeneutics of suspicion has informed much of the readings of the “Goblin Market,” especially the haunted market, as “kinda subversive, kinda hegemonic” (Sedgwick, Queer Performativity 15). I aim to provide a different approach given that recent scholarship on “Goblin Market” ignores the possibility of reparation. In this paper, I attempt to withhold suspicion in order to hone caring eyes to uncritical materials that are often deemed untenable to politicized life. I reparatively read the female participation in the market that resuscitates a full female identity and the “muted” ending that is often subjected to paranoid readings. Locating “Goblin Market” in a fantastic framework, I argue, helps us to see the actual world and it helps us visualize a fantastic world that brings out an ethical efflorescence that entertains human experience in its plenitude. This essay also argues that “Goblin Market,” partakes in “a new wave of innovative fairy tales” (Zipes 98) that gained ascendancy in the latter half of the nineteenth century and this serves as an affective archive to document long marginalized figures and feelings. I also argue that Rosetti’s poem invites thoughts on how aesthetic devices sustain and reproduce selves that ripple off from real-life experiences in a fantastic interruption of spatiality and temporality.

Keywords: reparative and paranoid readings, and fairy tales